A Quote by Johnny Ramistella

I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62. — © Johnny Ramistella
I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62.
Essence is something I always enjoy, because I love New Orleans. Since they brought it back to New Orleans, it's a special place to me. We been doing it since the beginning. We did it when it was in Houston, but there's nothing like New Orleans.
It's time for us to come together. It's time for us to rebuild New Orleans - the one that should be a chocolate New Orleans. This city will be a majority African American city. It's the way God wants it to be. You can't have New Orleans no other way. It wouldn't be New Orleans.
New Orleans is like my blood; it's not going anywhere. And then I just take different things that I've learned over the years and add them to what I'm doing with the natural New Orleans sound.
A Bowen, in the first place, made Bowen's Court. Since then, with a rather alarming sureness, Bowen's Court has made all the succeeding Bowens.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
Jimmy Graham over in New Orleans started a whole new type of position almost to where he was trying to get paid like a wide receiver. He was split out more than 50 percent of the time.
I really wanted to give people that tool, that thing, that answer, 'Well, what are you going to do after Katrina? How does New Orleans come back?' And I'm thinking to myself, New Orleans is back. We're the definition of 'back.' We're the definition of 'rebirth,' of 'renaissance.'
It was 2002, we all got guitars for Christmas and started playing in my garage that summer, rehearsed there and in a warehouse for a bit for about a year. We did our first gig in June 2003 and we played a few gigs in and around Sheffield for a bit then started doing gigs outside of Sheffield about this time last year, recording demos while all this was going on.
I have a love-hate relationship with New Orleans, which is the strongest sort of relationship. I've had some extraordinary, beautiful, poetic experiences in this city and I've had some terrible experiences in this city. I'm drawn to New Orleans, in many ways feel I grew up in New Orleans, even though I'm from the West.
I really got back to my New Orleans roots - my grandfather played with Fats Domino. We had to leave after Katrina, but I feel like, spiritually, I'm back there.
When my dad went to college to get his master's from Loyola, he was playing Debussy and Chopin and Beethoven. But he played all that New Orleans stuff, too. I would go with my dad to gigs, pick up the piano and the speakers, and I would be like his roadie.
I grew up in New Orleans. I had just moved into my dorm at the University of New Orleans, and I was doing laundry, and my mom called me, like, 'We've got to evacuate. There's a hurricane's coming.'
In New Orleans, bounce music was prevalent. That was all they wanted to hear. It was new and trendy, and it was hot, and it was taking off. Artists were coming out of everywhere. They did some great songs, some really catchy, fun songs. That was just the feel of New Orleans music.
I like historical fiction. I fell in love with New Orleans the first time I visited it. And I wanted to place a story in New Orleans.
If you go off the Senior Bowl, that's basically what I can do. I played H-back, I played fullback, I played tight end, I played slot receiver, I ran routes, I caught some balls, blocked, just doing that stuff.
People have said I played some pretty amazing gigs in the seventies, but in all honesty, I probably played one good show in three.
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